Modern Cinem Mise En Scene

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Mostly spoken about in the world of cinema, mise-en-scéne also describes aspects in theatre. In the instance of stage performance, mise-en-scéne includes all that is present on stage i.e. props, costumes, lighting, use of space. In Mr. Burns: A Post Electric Play by Anne Washburn paying close attention to what is present on stage is essential to understanding situation. In The First Act, the script directs there to be “four people around a fire, on a mixed arrangement of indoor chairs, sports or lawn chairs and a fancy new couch,” this set allows the audience to view the scene as something of a fuse of scavenged materials, making it known that, in this point in civilization, it is essential to acquire anything that is possible. There is no room for color schemes or meticulously considered arrangements, only practicality. The Second Act, described as seven years later, calls for “a cozy living room,” letting the audience know that progress has been made and it is appropriate to begin to consider aesthetic and occasional luxury. With this consideration of mise-en-scéne comes a better understanding of how and why a scene is presented the way it is. Bildungsroman, relating to that of a novel on formative years, is prominent in Jean Rhys’ Wide Sargasso Sea. Antoinette begins as a wide-eyed child, transitioning to a girl hopelessly in love, and then a spiteful woman. Christophine, Antoinette’s nurse, calls attention to, presumably, Rochester saying, “You make her think you can’t

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